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Part 1', Derbyshire Miscellany, Vol 14, P€, Autumn 1995, P46, Ref Dlsldeed 19949

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Part 1', Derbyshire Miscellany, Vol 14, P€, Autumn 1995, P46, Ref Dlsldeed 19949 DERBYSHIRE MIS CELLAIYY Volume 20: Part I Spring Z)13 CONTENTS Page Thomas Smith of Derby 1721-1767 2 Piorcer of English Laadscape Art by Trevor Brighton The Harrisons of Bridge Gate, DerbY t2 Whit e smiths and En gine er s Part I: WilliamHarrison 1735-1819 by loan D'Arcy ASSISTATIT EDITOR EDITOR Jane Steer Dr Dudley Fowkes 478 DufEeld Road, l1 Sidings Way, Allestree, Westhouses, Derby, Alfreton, DE222DJ DE55 5AS Cop)Tight in each contribution to Derbyshire Miscel/azy is reserved by the author. ISSN 0417 0687 THOMAS SNIITH OF DERBY (t721-1767) PIONEER OF ENGLISH LANDSCAPE ART (By Trevor Brighton, Heald Bank, The Yeld, Bakewell DE45 IFH) Derby in the 18th cennrry was a modest county and market town which made considerable contributions to the advancement of science and art in England. In the field of science were John Flamsteed, the Astronomer Royal, John Whitehurst, Clockmaker and geologist, George Sorocold, engineer, and various members of the Lunar Society. Derby also produced a remarkable sequence of artists - Thomas Smith, painter and engraver, John Raphael Smith his younger son, mezzotinter and Joseph Wright, ARA, painter. Of these Wright has been well written about and exhibited and a recent study also covered the work of John Raphael Smith.l However Thomas Smith has been largely overlooked and has received neither a monograph nor an exhibition of his work.2 Details of his early life are minimal and we cannot be absolutely certain that he was bom in Derby. Derby parish registers reveal three Thomas Smiths who were baptised at Friargate Presbyerian Church in 1720, at All Saints in 1721 and at St Werburgh's in 1724. Along with others, the present writer accepts the year l72l as that of the artist's birth. We know little of his early education and fiaining. His name does not appear in the Register of Derby School, nor does that of his first son, Thomas Correggio. However, the name of his younger son, John Raphael is recorded. Edward Edwards, writing in 1808, tells us that Smith was a self-taught painter and was one of the first artists who explored and displayed the beautiful scenes of his native country.3 However, we can now question or qualiS the assertion that he was self-taught. Like his two sons and Joseph Wright later, he must have gone to London to receive some training. It was there that Smith met the person who figured so prominently in his working life - the celebrated Huguenot engraver, Francois Vivares (1709-1780). Vivares was bom near Montpelier in France and eventually came, via Geneva and Paris, to settle in the growing Huguenot community of artists and craftsmen in [.ondon. He was twelve years older than Thomas Smith and had engraved the works of various continental masters including highly acclaimed landscapes after Claude and the Poussins. He must have encouraged and guided the young Derby artist in his early essays in landscape painting. Two of these early paintings by Smith now hang in Pickford's House in Derby and probably date from the late 1730s. They depict rural riverside scenes and are Flemish in style and feeling with some resemblance to the work of Jan Siberechts (1627 -c.1697 ) who worked at Chatsworth, Wollaton and other aristocratic seats. Smith was probably captivated by Flemish prints; there is no evidence that he ever studied abroad. Vivares was working with Smith in London and Derby as early as 1743 when he began to cut plates of Smith's landscapes. Indeed, by the time of Smith's death in 1767, Vivares had engraved more of his landscapes than any other printmaker. It is indicative of Vivares's influence upon the young artist that the sales of the latter's extensive collection of prints, paintings and drawings following his death listed no less than a hundred illustrations by the Huguenot. Whilst staying in Derby, Vivares accompanied Smith on his painting tour of the Peak as he did in later years into the Yorkshire Dales and lake District. George Vertue, 'the father oJ English art history', tel]s us that in 1745 that they were joint 'undertakers', or publishers, of 'J4 Views done in Derby of Dunnington Clffi, Anchor Church (p6), Hopping Mill Ware [weirJ and Lym[e] Park'.4 The'l4 Vtews' included the eight views of the Peak District (Dovedale p5) published in 1743 and the prospects of Chatsworth (p6) and Haddon Hall (p7) published in the following year. During his stay in Derby Vivares had his infant son baptised at All Saints church on 4th September 1744. T\e boy was named Thomas, presumably after Thomas Smith who was probably his godfather. The Smith-Vivares relationship was obviously more than a pupil-teacher association. They were close friends and business partners and enjoyed going on sketching tours together. Indeed they appear together in a number of prints they produced. Thomas Smith was a keen angler and in his prospect of Monsal Dale (p7) he, with the rod, 2 and Vivares, with the net, are portrayed catching brown trout below the waterfall' By late 1745 Vivares had returned to London perhaps prompted by the arrival in Derby of the Young iretender,s invading army. The partnership between Vivares nevertheless remained intact and they undertook further excursions to the wilder and little-known parts of England. Smith was captivated by the natural, unspoilt features of these landscapes - rocks and rivers, cataracts and caves. Thus he began to divert the attention of the grand tourists away from the Roman campagna as captured by Claude or Salvator Rosa,s startling vistas of the Alps and Appenines. He loved the peace and solitude as he sketched Derbyshire's rivers - the Noe and the Wye, the Dove and the Manifold, the Derwent and the Trent. He enjoyed the contemplation associated with angling as he painted Kirkstall Abbey (p8) on the Aire and Fountains aUUey on the Skeli or laid down his brush and pencil to wade with his road into the pool at the foot of High force (pS) on the Tees. The poet Thomas Gray, author of the celebrate d 'Elegy in an English churchyard' admired Smith's work, collected his prints and followed in his footsteps. Thus we find him visiting Gordale Scar in 1769 and rejoicing to find that 'it the alehouse where I dined at Malham', Vivares the landscape painter lodged for a week or more. Smith and Bellers had also been there [in 1751], and two prints of Gordale have been engraved by them.5 Smith also leamed from Vivares the art of engraving and etching on copper. The former entailed cutting lines in the plate by means of a v-ended steel burin; the latter involved waxing the plate, lightly cutting through the wax wittr a fine needle-point and then dipping the plate in acid which would bite into the exposed copper' The cleaned plate could then be inked by the printer. prints from Smith's paintings could be sold for as much as ten shillings each and proved a better source of income than painting alone. Apart from Vivares, Smith co-operated with other engravers to produce prints that were issued in folios between t*o and eight. In 1758 he produced two imaginary landscapes erltitled 'solitude' aJnd,Contemplation' (p9), drawing on the wild Italian landscapes of Salvator Rosa and caves Smith had first painted sixteen years earlier. It is interesting that now he was engraving his own works and signs them'Painted and published in Derby Oct. 1758 by T. Smith'. The theme is one of cave dwelling hermits which was close to Smith's heart. However, these prints are very rare and probably did not sell well. The vogue of creating a hermit's grotto in one's park or garden was on the wane by that date. The first half of the eighteenth century saw a general shift in English garden design from the geometrically linear, mannerist and baroque layouts of the lTth century. Smith had published his two topographical views of Chatsworth and Haddon Hall in I7M. They record the outmoded Franco-Dutch gardens at Chatsworth and the outgrown terraces at Haddon. However, Smith's prospects of the caves and waterfalls of the Peak District and the-Yorkshire Dales helped to inJluence the attempts to reproduce such features in parks and gardens' ln 1'148-9 he published views of four country estates - Viscount Tyrconnel's water gardens at Belton in Lincolnshire (p10) Loid Byron's grounds at Newstead Abbey, Sir Thomas Lyttleton's Hagley Park in Worcestershire and Virgil's Grove it William Shenstone's seat, The l-easowes, in Shropshire. The first of these at Belton revealed how the river Witham had been dammed and embellished with fanciful rockwork and pools and cascades together with a hermit in his cave! Contrast Smith's natural scenes in the dales and country parks with his famous view of smoke, steam and activity in Shropshire which he executed for Abraham Darby III in his -Issuedprospect of the industrial site of Coalbrookdale (pl0). as two prints in 1758, the fiIst depicts the site of the iron works and the second the adjacent iunAr""p" with Abraham Darby III's country house. The first prospect is one of the earliest depictions of the Industrial Revolution in England and was compiled by Smith with the assistance of George Perry, the site engineer, who also contributed to the letterpress description of the scene. The print has a nanative quality Uelinning on the opposite side of the Coal Brook valley with a cart load of coal being driven down to the coke orEn, *d fu-".eJbelow the near slope of the valley and indicated by their clouds of smoke and steam.
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